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All Journal PHARMACON Panggung Tawarikh : Journal of Historical Studies Abdi Seni Jurnal Seni Makalangan
Lilis Sumiati, Lilis
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Arts Humanities Education Languange, Linguistic, Communication & Media Medicine & Pharmacology Social Sciences

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The Transformation of Jayengrana Dance from the Perspective of Anthony Giddens’s Structuration Theory Sumiati, Lilis
TAWARIKH Vol 5, No 2 (2014)
Publisher : ASPENSI in Bandung, Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (372.443 KB)

Abstract

ABSTRACT: Transformation in structuration theory is caused by two things which are the roles of the agents and the interest in system construction purpose. Change of structure in the transformation, according to Anthony Giddens (2011), is limited to the actions of the agents to modify the existing structure. It means that the initial structure is not then removed, but still acts as the main basis. The application of the structuration theory on dance can be found in the case of transformation of “Jayengrana” dance which has endured significant changes after its proliferation. “Jayengrana” dance is one of dancing repertoires in Sumedang’s “wayang” dance genre in West Java, Indonesia. The potential in “Jayengrana” dance is shown in its phenomenal proliferation. The level of the proliferation can be seen not only in local and regional level, but also in international one. The agent involving in this phenomenon of the transformation of “Jayengrana” dance is R. Ono Lesmana Kartadikusumah (Ono) in Sumedang and Iyus Rusliana in Bandung. The agents of change for “Jayengrana” dance give their creativity which has modifying qualities aiming to fulfill the system’s needs, aesthetic demands, and today’s theatrical elements of dancing performances. Finally, “Jayengrana” dance, as a treasure of “wayang” dance Sumedang style, must be conserved in terms of its originality and also can be a model for the dance which will always be open for the reconstruction.KEY WORDS: Transformation, structuration theory, “Jayengrana” dance, Anthony Giddens, R. Ono Lesmana Kartadikusumah (Ono) and Iyus Rusliana, and agent of change.About the Author: Lilis Sumiati, M.Sn. is a Ph.D. Student at the Faculty of Humaities UNPAD (Padjadjaran University), Jalan Raya Sumedang-Bandung, Jatinangor, West Java; and also as a Lecturer at the STSI (Indonesia’s Art College) Bandung, West Java, Indonesia. Corresponding author is: lilissumiati1411@yahoo.comHow to cite this article? Sumiati, Lilis. (2014). “The Transformation of Jayengrana Dance from the Perspective of Anthony Giddens’s Structuration Theory” in TAWARIKH: International Journal for Historical Studies, Vol.5(2) April, pp.223-236. Bandung, Indonesia: ASPENSI [Asosiasi Sarjana Pendidikan Sejarah Indonesia] and UVRI [Universitas Veteran Republik Indonesia], ISSN 2085-0980.Chronicle of the article: Accepted (February 1, 2014); Revised (March 3, 2014); and Published (April 28, 2014).
Purpose Of Art Dan Kontribusinya Dalam Transformasi Budaya (Studi Kasus: Tari Jayengrana) Sumiati, Lilis
PANGGUNG Vol 25, No 1 (2015): Kontribusi Seni Bagi Masyarakat
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v25i1.12

Abstract

 Tatanan budaya memiliki sifat elastis dan dinamis mengekor pada empunya pencetus ke- budayaan yang tiada lain adalah manusia. Sifatnya yang demikian berpeluang mengalami pe- rubahan menuju cita dengan pencitraan berbeda. Kebenaran budaya, agama, ilmu, dan filsa- fat sekalipun, senantiasa menjadi kejaran setiap insan dalam ruang dan waktu yang berbatas. Upaya menggapai perubahan budaya terkadang berbenturan dengan tatanan budaya tradisi. Suatu paradoksal antar dua sisi yang berbeda bahkan menjadi penghantar menuju keabadian.Perubahan budaya berdampak pada berbagai pola kehidupan tak terkecuali tekstual tarian. Perihal ini mewujud karena berhadapan dengan laku kreatif  para seniman yang didasarkan pada maksud seni (purpose of art ) yang pada setiap sistem menganut perbedaan. Kata kunci: Budaya, purpose of art, tekstual tarian, transformasi
Tari Wayang Karakter Satria Ladak Sumiati, Lilis
PANGGUNG Vol 22, No 1 (2012): Menggali KEkayaan Bentuk dan Makna Seni
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v22i1.35

Abstract

Wayang dance is a dance expressing events in the stories of wayang. The events here among oth- ers are dances revealing the background of the story, theme, the name of the dance, characters, and philosophical elements. Of those various elements, the scope in this study is limited into matters of satria ladak character.Wayang dance satria ladak character living in several areas contains some significant differences in several aspects. The term differing the specialty of wayang dance is called sejak. The scope of se- jak is more for one’s style in dancing dance genre from the same ethnic. Therefore, the term sejak is firstly come out when seeing one’s performance in dancing, either referred to her/his choreography or to her/his specialty in performing the dance. Then, sejak owned by the individual is spread among his/her surrounding, so that it can be an icon in respective areas.The quantity of Wayang dance satria ladak is varied in each areas, such as sejak Sumedang is Dipati Karna dance. While Sejak Garut is Bambang Somantri dance, and sejak Bandung is Arayana dance. These materials are chosen as samples for comparative and interpretative study.Keywords: Wayang Dance, Satria Ladak, Sejak, comparative, interpretative.  
ANALISIS EFEKTIVITAS BIAYA TERAPI ANTIHIPERTENSI PADA PASIEN HIPERTENSI RAWAT INAP DI RSU PANCARAN KASIH GMIM MANADO Sumiati, Lilis
PHARMACON Vol 7, No 1 (2018): Pharmacon
Publisher : UNIVERSITAS SAM RATULANGI

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.35799/pha.7.2018.18723

Abstract

ANALISIS EFEKTIVITAS BIAYA TERAPI ANTIHIPERTENSI PADA PASIEN HIPERTENSI RAWAT INAP  DI RSU PANCARAN KASIH GMIM MANADO Lilis Sumiati1), Gayatri Citraningtyas1), Adithya Yudistira1)1)Program Studi Farmasi FMIPA UNSRAT Manado, 95115 ABSTRACT Treatment of hypertension medication was done in a long period of time so it costs a lot. The types of antihypertensive drugs are also highly variable, so it becomes an important factor in considering its use in hypertensive patients, therefore it is necessary to do a cost effectiveness analysis in order to assist in making the effective drug selection decisions by benefit and cost. This study aims to find out more cost-effectiveness treatment therapy between amlodipine-captopril and amlodipine-bisoprolol group combinations in hypertensive patients inpatients in GMIM Pancaran Kasih General Hospital Manado. This research uses descriptive research method with retrospective data retrieval. The samples in this study were 36 patients consist of 20 patients using amlodipine-captopril and 16 patients using amlodipine-bisoprolol. The results showed that the most cost-effective antihypertensive drugs were amlodipine-captopril with an ACER value of Rp. 11.808,63 and ICER value of Rp. 19.402,60. Keywords:Cost Effectiveness Analysis, Hypertension, Amlodipine-Captopril, Amlodipine Bisoprolol.ABSTRAK Terapi pengobatan hipertensi dilakukan dalam jangka waktu yang panjang sehingga membutuhkan biaya yang besar. Jenis obat antihipertensi juga sangat bervariasi, sehingga menjadi salah satu faktor penting dalam mempertimbangkan penggunaannya pada pasien hipertensi, oleh karena itu perlu dilakukan analisis efektivitas biaya agar dapat membantu dalam pengambilan keputusan pemilihan obat yang efektif secara manfaat dan biaya. Penelitian ini bertujuan untuk mengetahui terapi pengobatan yang lebih cost-effectiveness antara kombinasi golongan amlodipin-captopril dan amlodipin-bisoprolol pada pasien hipertensi rawat inap di RSU Pancaran Kasih GMIM Manado. Penelitian ini menggunakan metode penelitian deskriptif dengan pengambilan data secara retrospektif. Sampel pada penelitian ini sebanyak 36 pasien diantaranya 20 pasien menggunakan amlodipin-captopril dan 16 pasien menggunakan amlodipin-bisoprolol. Hasil penelitian menunjukan, obat antihipertensi yang paling cost-effective adalah amlodipin-captopril dengan nilai ACER sebesar Rp.11.808,63 dan nilai ICER sebesar Rp.19.402,60. Kata kunci : Analisis Efektifitas Biaya, Hipertensi, Amlodipin-Captopril, Amlodipin Bisoprolol.  
KREATIVITAS DALAM TARI KUKUPU PRODUKSI BADAN KESENIAN INDONESIA TAHUN 1952 Asyari, Pradasta; Sumiati, Lilis
Jurnal Seni Makalangan Vol 11, No 1 (2024): "Menggali Akar, Mencipta Ragam Rupa Kinestetika"
Publisher : Institut Seni Budaya Indonesia (ISBI) Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/mklng.v11i1.3403

Abstract

ABSTRAK Tari Kukupu merupakan salah satu karya tari Badan Kesenian Indonesia (BKI) tahun 1952, yang disajikan oleh sekelompok perempuan yang menggambarkan tentang siklus atau daur hidup kupu-kupu sebagai seekor serangga. Di balik pesonanya, karya ini bukan semata hasil kreasi individual, melainkan buah kolaborasi transdisipliner tiga agen yaitu Raden Tjetje Somantri, Tubagus Oemay Martakusumah, dan Kayat (Soma). Tulisan ini bertujuan untuk menganalisis dan mengungkapkan proses kerja kreatif dan inovatif penciptaan Tari Kukupu, yang terwujud melalui sinergisitas lintas disipliner. Melalui metode kualitatif pendekatan fenomenologi dengan wawancara mendalam, observasi, dan analisis konten. Tulisan ini memaparkan tentang gaya koreografi Tjetje, estetika kostum Oemay, serta komposisi musik Kayat (Soma) yang saling berkaitan dan berkontribusi dalam menghidupkan Tari Kukupu. Hasil penelitian menunjukkan bahwa ketiganya telah berhasil menyajikan Tari Kukupu dengan sentuhan dan warna baru yang tetap mempertahankan nilai-nilai dan identitas tradisi Sunda. Karya ini menjadi bukti bahwa tradisi dan modernitas dapat saling melengkapi dalam menjaga keberlangsungan warisan budaya. Kata Kunci: Kreativitas, Inovasi, Tari Kukupu, Raden Tjetje Somantri, Tubagus Oemay Martakusuma, dan Kayat. ABSTRACT THE CREATIVITY IN KUKUPU DANCE AT THE INDONESIAN ARTS AGENCY IN 1952, JUNE 2024. The Kukupu Dance is one of the dance works of Badan Kesenian Indonesia (BKI) in 1952, which is presented by a group of women which describes the cycle or life cycle of a butterfly as an insect. Behind its charm, this work is not merely the result of individual creation, but also the result of a transdisciplinary collaboration among three agents, namely Raden Tjetje Somantri, Tubagus Oemay Martakusumah, and Kayat (Soma). This article aims to analyze and reveal the creative and innovative work process of creating the Kukupu Dance, which was realized through cross-disciplinary synergy. Through a qualitative method of phenomenological approach, in-depth interviews, observation and content analysis. This article describes Tjetje's choreography style, the aesthetics of Oemay's costumes, and Kayat's (Soma) musical composition which are interrelated and contribute to develop the Kukupu Dance. The results of the research show that the three of them have succeeded in presenting the Kukupu Dance with a new touch and color that still maintains the values and identity of Sundanese tradition. This work is a proof that tradition and modernity may complement each other in maintaining the sustainability of cultural heritage. Keywords: Creativity, Innovation, Kukupu Dance, Raden Tjetje Somantri, Tubagus Oemay Martakusuma, and Kayat.
KREATIVITAS PAUL KUSARDY DALAM MENCIPTAKAN TARI PEMETIK TEH Faadhilah, Ghina Alya; Sumiati, Lilis
Jurnal Seni Makalangan Vol 10, No 2 (2023): "Tari Dalam Genggaman Tradisi"
Publisher : Institut Seni Budaya Indonesia (ISBI) Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/mklng.v10i2.3394

Abstract

ABSTRAK Tari Pemetik Teh termasuk ke dalam genre tari kreasi baru yang diciptakan Paul Kusardy pada tahun 1961 di Sanggar Viatikara Kota Bandung. Paul merupakan sosok seniman yang memiliki daya kreativitas tinggi dan merefleksikan kepribadian Indonesia yang memiliki keberagaman etnis dan suku bangsa dalam karya tarinya. Tujuan Penelitian yaitu untuk mengetahui secara rinci gagasan kreativitas Paul Kusardy dalam menciptakan Tari Pemetik Teh. Penelitian ini menggunakan metode penelitian kualitatif dengan pendekatan teori kreativitas 4P Rhodes meliputi pribadi, proses, pendorong, dan produk. Prosedur pengumpulan data dilakukan melalui tiga tahapan yaitu observasi, wawancara dan dokumentasi. Hasil penelitian ini menunjukan Paul Kusardy sebagai sosok yang berhasil mengembangkan gagasan kreativitas dengan melewati seluruh proses dan dorongan dalam mencipta tari, sehingga menghasilkan karya tari kreasi baru yang diterima masyarakat. Kata Kunci: Tari Pemetik Teh, Kreasi Baru, Kreativitas, Paul Kusardy. ABSTRACT THE CREATIVITY OF PAUL KUSARDY IN CREATING TEA PICKER DANCE, DECEMBER 2023. Tea Picker Dance is one of new creation dances created by Paul Kusardy in 1961 at Viatikara Studio Bandung. Paul is an artist who has high creativity and reflects the personality of Indonesia which has ethnic diversity in his dance works. The aim of the research is to get detail finding of Paul Kusardy's creative ideas in creating the Tea Picker Dance. This study uses qualitative research methods with the 4Ps Rhodes' creativity theory approach, including person, process, press, and product. Data collection procedure was carried out through three stages, namely observation, interviews and documentation. The result of this study shows that Paul Kusardy has succeeded in developing creative ideas through the entire process and encouragement in creating dance, resulting in new creation dance which is accepted by the society. Keywords: Tea Picker Dance, New Creation, Creativity, Paul Kusardy.
REVITALISASI SENI TRADISI DI RANCAKALONG SUMEDANG JAWA BARAT Sumiati, Lilis; Budi, Dinda Satya Upaja
Abdi Seni Vol. 15 No. 1 (2024)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/abdiseni.v15i1.5462

Abstract

The Sumedang style Wayang dance is a monumental work created by Raden Ono Lesmana Kartadikusumah in the 1930s. After surviving for around 90 years, there is one dance that has been recognized as part of Indonesia's Intangible Cultural Heritage (WBTB) in 2022, namely the Jayengrana Dance. Apart from dancing, Sumedang has a natural wealth of bamboo which has the potential to be developed towards a creative economy. Based on these two factors, motivated to do Community Service (PKM) in Rancakalong. The choice of place was considered on the basis of the availability of potential human resources and natural resources and as a continuation of the ISBI Bandung student street vendors.The method that will be applied in this PKM, uses the Participation Action Research (PAR) method. This method has continuity because it contains cycles of participation, research, and action. Participation is a form of caring attitude to spread the Jayengrana Dance again and build a community of bamboo musical instrument craftsmen. This form of concern is motivated by previous research. Then action is a form of activity in conducting PKM in the form of revitalization.This PKM focused on two forms of activity, namely the Jayengrana Dance training and the Workshop on Making Bamboo Musical Instruments which textually and contextually became an important part of the Sumedang community, especially the course participants who were members of the Arimbi Studio and the same time empowered the Sumedang Rancakalong Geotheater. The results of this training were then evaluated internally in the form of tides and flashmobs.
Eksplorasi Artistik Makna “Eusi Kosong” dalam Usik Penca: Refleksi Moral dan Spiritualitas Melalui Karya Seni Saefurridjal, Anggha Nugraha; Herdiani, Een; Sumiati, Lilis
PANGGUNG Vol 35 No 1 (2025): Wacana Seni dalam Identitas, Simbol, Pendidikan Karakter, Moral Spiritual dan Pr
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v35i1.3588

Abstract

Penelitian ini bertujuan untuk menginterpretasikan makna eusi kosong dalam usik penca melalui pendekatan eksplorasi artistik. Secara filosofis, eusi kosong melambangkan keseimbangan antara kekosongan dan isi serta mengandung nilai spiritual yang mengajarkan pengendalian diri dan introspeksi. Usik Penca tidak hanya melatih bela diri, tetapi juga menjadi sarana refleksi dalam mengendalikan hawa nafsu. Melalui metode etnografi dan practice-based research, penelitian ini mengintegrasikan eksplorasi gerakan dan pengalaman kreatif dalam proses reka cipta tari. Proses kreatif ini melibatkan reinterpretasi usik penca menjadi karya tari yang menyampaikan nilai-nilai filosofis dan spiritual. Keseimbangan tradisi dan inovasi menjadi inti dalam karya ini. Tari bukan sekadar ekspresi estetis, tetapi juga sarana edukasi dan refleksi moral. Hasil akhirnya adalah sebuah karya tari yang memvisualisasikan nilai-nilai spiritual dari usik Penca, yang dirancang untuk memperkuat apresiasi terhadap penca sebagai warisan budaya tak benda serta sarana untuk memperdalam pemahaman akan pengendalian diri di tengah tantangan era globalisasi. Sekaligus menegaskan relevansi seni tradisional melalui pendekatan artistik inovatif dalam seni kontemporer.
Co-Authors Asyari, Pradasta Budi, Dinda Satya Upaja Een Herdiani Faadhilah, Ghina Alya Saefurridjal, Anggha Nugraha